Cédric Morisset of Carpenters Workshop

In 2006, lifelong friends Julien Lombrail and Loïc Le Gaillard established Carpenters Workshop Gallery. The original site is, as you might suppose from the name, a former carpenter’s workspace in London, now joined by equally historic flagships in Mayfair and Paris’ Marais district. The prestigious platform has emerged as one of the world’s foremost collectable design galleries. With an unwavering respect for artisanal excellence and material exploration, Carpenters Workshop Gallery represents recognised talents including Stadler, Baas, Park, Owens, de Cotiis, van Lieshout, Carbonell, Random International and Studio Job, to name but a few. In 2015, the founding duo launched a Carpenters Workshop production facility on the outskirts of Paris that emulates the French tradition of guilds and offers their growing lineup technical and research resources. That same year, Carpenters Workshop Gallery expanded into a Midtown Manhattan penthouse. TLmag spoke to Cedric Morisset about New York, his role as global director at the helm of this third strategic outpost and one symbolic design.

TLmag: How did Carpenters Workshop Gallery New York come about?

Cédric Morisset: Adding to New York’s already rich cultural offering, we wanted to change the perception of collectable design, reveal where it overlaps with art and perhaps most importantly, provide a United States platform for our eclectic yet dynamic lineup of designers. Accounting for forty percent of our international market, American collectors and interior designers in Dallas, Chicago, New York and elsewhere have come to expect our steadfast attention to artisanal excellence. Many develop emotional connections with specific pieces. It made sense to open an accessible outpost that would allow us to maintain close relationships with them but to also keep a pulse on the changing zeitgeist, this side of the Atlantic.

TLmag: What sets Carpenters Workshop Gallery apart in New York?

C.M.: Having established a reputation at our main spaces in London and Paris, we offer a different savior-faire. Many New Yorkers have commented on how fresh the gallery is as we haven’t compromised our identity. We are still Carpenters Workshop Gallery, even if in New York

TLmag: Why New York? How would you describe you collector base here?

C.M.: The city attracts people from all over the world. So many great artists, designers, fashion icons and film directors have come from, lived in, passed through New York. Things happen faster, so people are more open to change. Our collectors here are driven, decisive and focused. Many come to the gallery knowing what they want already. We provide them with the advice necessary to fulfil their wishes.

TLmag: What’s one design from the gallery’s collection that is most symbolic?

C.M.: The Bhanga credenza by Vincent Dubourg—an artist we’ve worked with since day one—epitomizes what we do: collectable, sculpture-based furniture. We will dedicate a solo show to his work this coming fall in New York to coincide with his first monograph.